Jeffrey Martin @ The Workman’s Club, Dublin - 20th January 2024

In Europe for a brief tour and promoting his critically acclaimed release from last year THANK GOD WE LEFT THE GARDEN Jeffrey Martin returns to Dublin to great acclaim. He last played here in early 2023 with his partner in life and in music Anna Tivel as part of a co-headline tour but tonight Jeffrey takes centre stage with his acoustic guitar and a suitcase full of superbly crafted songs.

He resembles something like a woodsman in his appearance with a formidable build and a generous beard impressing those who are present on word of mouth recommendations. Of course, in reality we are in the company of a gentle, sensitive soul that stands before a packed room and talks from the heart about his “‘sad ass songs” and his views on the state of the planet as we continue as a species to confuse and dumbfound in our actions and daily agitations.

Jeffrey Martin gave up a career in teaching in order to follow his dream of being a musician and it is clear from his tales of the road and beyond that money could never have been a motivating factor at any point along his journey. He tells of phone conversations with his Dad who enquires after the number of people that are turning up for the shows and whether he is making “enough money” to make it work. One hilarious story as a lead in to Paper Crown recounts Jeffrey’s encounter with some mind altering mushrooms and a muddy patch in his local park that ended in him returning home to sell his newly purchased portfolio of shares which had amounted to the princely sum of $90. He is a natural storyteller and this of course endears him all the more to an Irish audience.

Focusing mainly on the new album, Jeffrey plays beautifully restrained fingerstyle guitar and wraps his superbly nuanced vocals around the words that reach out to everyman in their questions of the big issues. Over a set of thirteen songs he features Garden, Lost Dog, Red Station Wagon, Paper Crown, Quiet Man, There Is A Treasure, Sculptor and Walking from Thank God We Left the Garden and the immediacy and the intimacy of the performance has everyone in deep reverence with every part of the music. There is a hypnotic quality to the synergy of guitar and voice that both soothes and silently seeks to consider our place in the world in which we take our daily roles.

Early songs from his debut BUILD A HOME EP, THIEF AND A LIAR (2012) and GROWER OF TREES (2014), DOGS IN THE DAYLIGHT kick off the show with a reminder that the pearls of wisdom that drop from the mind and the pen of Jeffrey Martin are in no way a current discovery. He also features some songs that remain unrecorded (yet), and a new one, which he says is “For America” in his introduction. It is an indictment of the abuse of power and privilege in high places. The abiding message in the politically themed song is that of enduring community with the refrain “I love you my brother” and I was also interested in the line “The devil was made so we wouldn’t blame God.”

Jeffrey Martin doesn’t profess himself to be a religious man and yet there is a strong morality running through his songs that calls us to witness the basic message of all religions, in that we should love each other and care for the weak among us. So many of his songs feature those on the margins of society and those with no voice or control over the shape of their lives. He also speaks of how we are really all the same with hidden layers within each of us. His song Just Like You, Just Like Me contains the words “Shiny on the outside but broken on the inside” when it comes to the games that people like to play in order to make themselves feel self-important.

The song Checkers is one that Jeffrey has only played live and he speaks of his friendship with Mick Flannery and their cross-fertilisation of song ideas. The story relates to Mick writing a song that referenced great chess matches and masters while the response from Jeffrey was one of a song that cleverly pokes fun at the checker playing mentality of certain sections of our shared communities.

As a champion of the unheard voices in society, Jeffrey Martin stands tall and his talent stretches far beyond the venues in which he spins his tales of mindfulness and self-awareness. The final song Walking sums it all up in the lines “ We’ll be gone with nothing, The same way that we came, So I go out walking.” The perfect antidote? I would never bet against the insight of this talented musician who continues to win the hearts of minds of all who hear him perform. A truly great night of music.

Coda: The support act was a local Irish band called Dug. They have only been an ensemble for a matter of months but this 4-piece seem destined for greater things if tonight is anything to go by. Their music is authentic and based in the great roots tradition. Percussion, bass, banjo and resonator guitar combine to create a very enjoyable set of songs in the true spirit of spontaneity. They went down a storm and are definitely an act to watch out for in the months ahead.

Review by Paul McGee

Kevin Montgomery and Jude Johnstone @ Whelan’s, Dublin - 14th January 2024

This was the perfect antidote to the January blues. An early evening gig in the intimate surroundings of Little Whelan’s to banish the cold weather in Dublin city. Both of the headline performers are very familiar with Ireland and have visited our shores on many prior occasions. Of course Covid drove a coach and horses through a lot of tour plans for musicians the world over and neither Kevin nor Jude were able to dodge the lockdowns and loss of income over recent years. However, free to travel again and open to sharing their plentiful gifts with those fortunate enough to catch this current European tour, tonight sees the end of a ten-day continuous run of shows before a few well-earned days off and then forward to Scotland, England and the Netherlands.

Jude Johnstone may be a new name to many in the audience but those folks who already know her music relish the chance to see her perform up close and personal. It was certainly a performance not to be missed. As a songwriter Jude is considered among the very best within the higher echelons of performing artists and whereas she will profess to not being really a live performer, she exudes an easy charm and a winning personality when telling her tales behind her career and the songs that have been covered by top line acts such as Johnny Cash, Bonnie Raitt, Emmylou Harris, Stevie Nicks, Bette Midler, Trisha Yearwood, Don Henley and many others.

Jude does not name drop on stage but rather, at the promptings of Kevin Montgomery, she regales the rapt audience with her stories and the one that features Johnny Cash is both hilarious and humbling in that he ended up naming his Unchained album after Jude’s featured song (The album received a Grammy for Best Country Album in 1996). Her set is limited to just nine songs and Kevin sits in on a few of the numbers to add counterpoint male vocal. Her body of work is so extensive that it’s impossible to please everybody of course, and we all have our own favourites. Tonight she chooses five songs from her debut album COMING OF AGE which dates back to 2002. Her performances of Cry Wolf, Hearts In Armour, Unchained, The Nightingale and Wounded Heart are all superbly delivered, with her voice a perfect mix of hard-earned wisdom and a knowing sorrow. Deep Water and On A Good Day are performed from her second album (2005) and On That Train from QUIET GIRL (2011) and New York Morning from BLUE LIGHT (2007) are also included. Such nuance in the vocal delivery, such empathy and grace, you know she means every word she sings. It was such a privilege to be able to hear her perform again. Class is permanent, lest we ever forget.

As Jude steps aside and makes her way to the front bar in order to meet her new admirers who queue to purchase actual CDs (remember them), Kevin Mongomery steps into the spotlight to take us all down an easy ride through his back catalogue which is both extensive and filled with wonderful songs. His gift lies in capturing insights into our fragile lives, our broken relationships and he also pays tribute to those who have gone before. His vocal tone is something that has always separated Kevin out from the pack and his honeyed delivery has not diminished in any way since the last time I listened to him perform in a live setting.

Tonight he is joined by the fine talents of both Johnny MacKinnon on keyboards/vocals, together with Michael Scott Boudreaux on Fender guitar/vocals. Johnny is from Carradale, a small fishing village in Kintyre, and his subtle playing and easy touch is a real addition to the songs. Michael is from a small town in Louisiana and has been writing with Kevin for a few years now. There is a new album in the works and the virtuoso playing of Michael tonight only whets the appetite for what lies in store. His light touch on the guitar and his fluid playing style is most impressive, in a less-is-more dynamic. He leaves no doubt that all traces of ego have already been left aside in favour of serving the songs, something that some players never really learn in their whole careers.

Kevin also generously gives the stage to Michael to perform three of his songs from a debut EP that includes Good Thing (co-written with Kevin), Acadiana Woman and, a favourite with the audience on the night, Beer and Gasoline.

Across a catalogue of releases that date back to 1993, Kevin has consistently proven his gift with a melody and a tune over a number of critically acclaimed studio recordings and live albums. He has played with some of the elite musicians on the American Country/Roots circuit and beyond. His ability to capture a feeling is a very special part of the great songwriting book and something that gains him automatic entry. Tonight we are treated royally as Kevin visits his iconic ANOTHER LONG STORY album (2001) and Let’s All Go To California, I Wish I Were Blind (Springsteen cover), Your Kind Of Love, and Another Long Story are given everything in the performance. Both Tennessee Girl and Cherokee City are included from the 2003 release 2.30am and a cover version of the Jimmy Webb song Adios fits perfectly into the sense of the evening as Kevin professes himself as a big fan of the singer-songwriter.

In 2007 Kevin released an album titled TRUE and it included a song to his beautiful daughter. It was called Nothing and the heart-breaking reality of infant death is captured in such raw, poignant and honest expression to take your breath away. He performs the song in honour of his daughter’s memory and every word is beautifully constructed. To perform this song take courage and fortitude and in sharing it ,Kevin approaches a sense of peace.

A Spanish couple had flown in especially to catch Kevin play live in Dublin and their request for Fireworks from the SOME COMFORT album (2012) is duly respected as he finds his way into the song that is performed with a real passion by both supporting musicians, given that they never played it live before. Bien necho..! Kevin had opened the set tonight with a song from the same album and the performance of The Greatest Love That Never Was really kicked everything off in fine style, while introducing the subtle guitar of Michael Scott Boudreaux.

A new song, I Hate Flowers, is given a debut and already sounds like a crowd favourite (watch this space) and Kevin also pays a heart-felt tribute to his famous father, Bob Montgomery, and the special talent that he passed on from father to son. Bob played in a duo with Buddy Holly (called Buddy and Bob), and he subsequently went on to write Heartbeat, Love’s Made a Fool of You, and Wishing, for Holly and the Crickets. Another song from that time, Flower Of My Heart was performed in a Flatt/Scruggs bluegrass style that was really infectious.

We are also treated to Fear Nothing as the final song of the evening, the title track of his 1993 debut and an iconic song that always elicits the most cathartic singing from an audience on any given night with the refrain ‘ Yeah, yes you are something, Fear nothing.’ Kevin remarks that if he were writing the song today he would council “Fear Everything” but his comment is somewhat tongue-in-cheek given that the hope and optimism in the words is all about grabbing at life and not letting go of the moment. Overall, it was a truly inspiring evening, spent in the company of true artists that are dedicated to their craft. It was a privilege and it sets the bar very high for the rest of the music year and the calendar of events in Dublin city.

Review and photographs by Paul McGee

Great Lake Swimmers @ The Workman’s Club, Dublin - 14th Dec 2023

Ontario band Great Lake Swimmers are a collective of talented musicians that have been playing around Europe recently in promotion of their latest album, Uncertain Country. It is their sixth official release since forming back in 2003 when Tony Dekker released his fledgling songs to the public on the debut album. It’s now 20 years later and the band make a very welcome return to Ireland after a long absence. Dekker is a very open, self-effacing Canadian and speaks of his joy at being out on the road again after Covid lockdown and in a place where he can enjoy the privilege of playing live.

During the course of this excellent show the band visit all six of their previous releases across a 16-song set. Emphasis is naturally focused on the new release and seven songs are featured including Uncertain Country, Am I Floating In the Air, Riverine, Swimming Like Flying, Flight Paths, Moonlight Stay Above and When the Storm Has Passed. Their sound is filled with lovely melodies that form a rich tapestry as the musicians intertwine with each other in the performance. The players have a very intuitive understanding collectively and the individual contributions are always in the service of the songs with very few solos included in the arrangements. The layered tones are lovely and compliment the sensitive vocal delivery of Dekker as he sings of our place in the great scheme of things and the joys of nature that surround us every day. Having grown up in rural Canada, Dekker is very sensitive to the beauty in nature that so many ignore in our busy daily lives. He celebrates the wonder and the sense of being a small part of a greater mystery.

The band comprises Tony Dekker (acoustic guitar, harmonica, vocals), Erik Arnesen (upright, electric bass), Kelsey McNulty (keyboards, vocals), Bret Higgins (electric guitars) and Ryan Granville-Martin (drums, percussion, vocals). Apart from sincere chat from Dekker regarding the songs and the band, the only other member who speaks is drummer Granville-Martin who confirms that upon arrival in Dublin he drank four pints of Guinness and then slept on the dressing room couch to recover his faculties. Whether this is tongue-in-cheek parody or not is of no real consequence but it does draw a collective laugh from the packed audience who are in attendance to soak up the superbly crafted music.

Other song highlights on the night included Your Rocky Spine, Everything Is Moving So Fast, Moving Pictures, Silent Films (solo performance from Dekker) and Put There By the Land. The crowd loved it all and the rhythm section of Arneson and Granville-Martin were sublimely understated throughout, providing the pulse of the performance and always staying right in the pocket of the playing. Guitarist Bret Higgins is very effective at providing sound dynamics from his pedal board of effects and he delivers some lyrical playing while the keyboard layers and sonic sounds created by the impressive Kelsey McNulty bring added colour and texture to the music. No doubting the quality of talent on display and the compelling performance is one that will stay long in the memories of those who were present to witness it all.  The Great Lake Swimmers are guaranteed a warm welcome in Dublin anytime they choose to return.

Review by Paul McGee. Photographs by Declan Culliton

Ken Haddock @ Chandler’s House, Rathfriland - 2nd Dec 2023

This fine venue is located in the centre square of Rathfriland and has a long history in serving the local community. It was originally the site of a soap and candle-making factory in the late 18th century before it was home to both a post office and a bank over later years. The regeneration of the building has seen the region benefit from the work done by a dedicated committee in achieving grant support from the Architectural Fund in Northern Ireland.  It is now home to various community-based activities, including film and book clubs and an intimate music venue.

Tonight we have the very talented Ken Haddock appearing in a room filled with expectant music fans and it is heartening to see such an enthusiastic turn-out on a bitterly cold night. Ken is a respected local musician who is continuously active across Northern Ireland from his home base of Belfast. He has collaborated with local musicians over the years, including Foy Vance, Brian Houston, Gareth Dunlop and Jules Maxwell. He has also shared the stage with Anthony Toner and Ronnie Greer, in addition to working with the poet Olive Broderick.

Ken performs a generous set of twenty songs and delivers a performance that is filled with kinship, warmth and a gift for communicating easily with the assembled audience. Such is his expertise that Ken accepts random requests for songs that span many musical genres, and he mixes these with his own songs taken from previous albums that he has released. His debut ALMOST arrived in 2008, an album of thirteen songs and he followed this up in 2013 with THE SWEETEST HOUR. A live album arrived in 2018 performed with The Arco String Quartet at Willowfield Church in Belfast and was titled ONE NIGHT IN WILLOWFIELD, which also included a full band to colour the song arrangements.

There is no doubting the great talent on display among the various song interpretations from Ken but his own songs deserve equal footing among the performances. In my opinion, he doesn’t include enough of these. There are great versions of Who Am I To Blame, Diamond Girl and Come On Over To My Place from the SWEETEST HOUR album. Ken also performs Almost and Word By Word from the debut album together with a song yet to be recorded, It’s Not Over Yet , and this proves to be one of the highlights in a night of great style and enjoyment. Ken has a powerful voice and there is great nuance in the delivery, softly gentle when reflecting the quiet tenderness of a lyric and deeply resonant when displaying the heartfelt emotion in moments of great intensity.

He is a fine interpreter of the music of the late, great John Martyn and we are treated to superb renditions of Solid Air and May You Never. James Taylor is given an airing on both Fire and Rain and Carolina In My Mind, with Van Morrison given great resonance on Tupelo Honey and Into the Mystic. Tom Waits (House Where Nobody Lives), Radiohead (No Surprises) and Bruce Cockburn (Pacing the Cage) show the wide span of Ken’s ability on acoustic guitar, with his sonorous vocal turning each song into his very own unique take on the original. There is also a moving tribute to Shane MacGowan in the version of Fairytale Of New York which has the audience joining in on the famous chorus.

Ken Haddock should be held as a real treasure with his ability to write sincere songs and also as an impressive and sensitive performer in highlighting the songs of other artists. Tonight, Rathfriland got to experience a night of deep connection and credit to local promoter Andy Peters for always looking to bring such high quality artists and their music to his home town.

Review and photo by Paul McGee

Willi Carlisle @ Voodoo, Belfast - 16 Nov 2023

Willi Carlisle blew into Belfast on a miserable, wet, winter’s night and left the audience wondering what had just happened.  Comprising only a moderate forty punters, Willie noted that this was actually ten times the audience for his first and only previous Belfast visit. Tonight was the last date of a long European tour and although he had laryngitis, it wasn’t obvious to the appreciative audience.

Introducing himself simply as ‘a folk singer from America’, he blasted off with the poignantly hilarious, long, talking blues Peculiar, Missouri, performed quicker than the version on the album of the same name. Swapping his acoustic guitar for a set of bones and a harmonica, he remarked that Irish audiences don’t bat an eyelid at the bones (although they’re usually made of sheep ribs in Ireland, as opposed to Willi’s deer rib version), while Americans are not familiar with this ancient musical instrument. There follows a version of What The Rocks Don’t Know from his first album TO TELL YOU THE TRUTH.

Next up it’s his open backed frailing banjo for The Chicken Roost Blues, a fun story song which he found in the Ozark Folksong Collection, followed by the audience participation Free Little Bird, which the Belfast audience took part in enthusiastically, as they usually do. More PECULIAR, MISSISSIPPI songs were featured, including Tulsa’s Last Magician and the semi-autobiographical Vanlife. Cheap Cocaine, an earlier song, prompts the admission from Willi that although this came from his past life, he still has the tendency to party too much when he’s on the road. It was the natural pre-cursor to a preview of a new song, When The Pills Wear Off, from his upcoming new album CRITTERLAND. Always open about his past escapades, you get the impression that he is not capable of being anything other than honest, and leaving himself very vulnerable in the process. He approaches the subject of drug taking and addiction here in a non-judgemental way.

Another new song The Arrangement, is set in the aftermath of a funeral and was prompted by the recent near-death experience of his father, who luckily has survived to tell the tale! A new instrument is produced, another one very familiar to Irish folk/trad audiences, Willi explains that he discovered the concertina on his first trip here and he uses it on the road, presumably because its dinky size lends itself to travelling. He accompanies himself on it for a Shaker hymn from his childhood, followed by a sublime cover of Richard Thompson’s Beeswing, admitting that he has only recently discovered Thompson’s work. What a time is ahead of him, exploring the rich trove of the English folkie’s body of work.

After a sneak preview of Critterland, inspired by an intentional community in the US, we are treated to a spine-tingling a capella cover of Steve Goodman’s The Ballad of Penny Evans and he bids goodbye with the singalong Your Heart’s A Big Tent. And so Willi Carlisle went off into the night, on a lonely bus ride to Dublin airport for an early morning flight home, leaving a bit of humanity and love in his wake. Safe travels, Willi.

Review and photos by Eilís Boland

Gregory Alan Isakov @ National Stadium, Dublin - 22nd Nov 2023

The queue at the merchandise table gives sufficient proof of the popularity of Gregory Isakov in Ireland. Having played in Dublin on two previous occasions this return visit is greeted with great enthusiasm by the sizeable crowd that turns out at the National Stadium venue. Given his shy nature and low media profile, it is heartening to discover so many advocates for his music and there is a genuine electricity in the air as Isakov appears with his 5-piece band. The dimly lit stage is reflective of the artist’s tendency to shun the spotlight in favour of the ensemble of fellow musicians, all of whom are very accomplished players. His self-effacing wit and wry sense of humour are captured in the tale he relates of phoning his Mum earlier to tell her that “I’m playing in a stadium.”

Isakov appears genuinely surprised with the turnout and thanks the audience on a few occasions over the next two hours of performance. He remarks on the silence between songs and reflects that he finds comfort in it rather than awkwardness. It doesn’t last too long however as a number of die-hard fans begin to shout out song requests and inane comments, coupled with annoying whoops and yee-haws in some bizarre form of quasi-support. The usual array of raised arms with mobile phones is also an unwelcome distraction and all too prevalent at gigs these days. However, these gripes apart the beauty of the music provides an intimate glimpse through the keyhole and an appreciation of the reflective writing that defines Isakov.

His base in Colorado provides ample scope for his farming activities among the local community-based agricultural collective. Given his closeness to the land it’s no surprise that nature feeds into his music and gives credence to the soothing songs that he creates. Relationships dominate his writing, whether formed with other people or in the many ways that we commune with nature. Tonight he delivers a set that spans a number of his releases with a focus on the most recent albums EVENING MACHINES (2018) and APPALOOSA BONES (2023), both of which are featured with five songs each. The Weatherman (2013) provides four songs and there are a further three songs included from THIS EMPTY NORTHERN HEMISPHERE (2009).

In total, there are twenty songs performed, including three encores, that leave the enthusiastic audience chanting for “one more song.” Old favourites such as San Luis, Amsterdam, Big Black Car and Master and A Hound are played alongside new songs like Miles To Go, Watchman, The Fall and Before the Sun. All songs are received with a warm reception and the seamless interplay among the musicians heightens the song dynamics in impressive fashion as Isakov subtly teases increasing levels of nuance and skill from his band of brothers; Steve Varney (banjo, guitar, harmonium, piano), Danny Black (guitar, keyboards, lap steel), Jeb Bows (violin), John Paul Grigsby (bass) and Max Barcelow (drums).

As the final encore concludes, Isakov goes to each of the players in turn and tips his hat in recognition of their contributions. His music has a timeless quality, restrained and reminiscent of quiet calm in its resonance. If you have yet to be introduced to the music of Gregory Alan Isakov then many treats await you. A refreshing reminder of the superb music that is circling above us on the airwaves and in the ether. Promoters MCD deserve great credit for bringing such talent to our shores.

Review and photo by Paul McGee

Campbell/Jensen @ The Courthouse, Bangor, Co Down - November 15 2023

Having recorded their debut duo album, TURTLE COTTAGE, just along the coast from here at Strangford Lough, Ashley Campbell (daughter of Glen) and her partner, Thor Jensen, appropriately decided to start their Irish tour in the impressive new Bangor venue. They had spent a few weeks in Turtle Cottage on tiny Mahee Island in January (2023) and recorded the album there in front of a wood stove, while trying to keep warm.

Even though I was completely unfamiliar with the material on the just released recording and I really didn’t know what to expect from the pair, I was captivated by the performance from start to finish. Ashley’s background is in Americana, having played banjo in her late father’s band and then based herself in Nashville more recently. A New Yorker, Thor Jensen’s background is as a guitar player in early jazz and rock, and the pair met a couple of years ago in Nashville when Ashley took lessons from him in Django Reinhardt style guitar. A Song by Vampires, for Vampires turns out to be not at all scary but a beautiful love song, ‘We’re gonna live til the end of time/I’m so glad you’re mine’ and introduces us to Ashley’s adept claw hammer banjo playing and Thor’s virtuoso acoustic guitar playing. He is possessed of an impressive deep baritone voice, and blends it perfectly with Ashley’s exquisitely sweet vocals. They take turns on lead vocals during the evening, but often they sing the songs in harmony throughout. Another love song from the album If I’m Gonna Live a Long Time has Thor singing lead and has a real ragtime feel, this time with Ashley playing her resonator banjo. Thor explained that the song was influenced by Leon Redbone, and encourages the audience to check him out. Run With You, the latest single from the album and another love song, follows with the duo singing in perfect harmony.

The between song banter is mainly left to Thor, but Ashley eventually explains that that’s because she has to keep tuning her banjos, which are very ‘persnickety’ in our damp climate! The early blues classic Trouble in Mind follows and it allows Thor to let loose on a mesmerising guitar solo. Next up is an instrumental Exit Zero, one of the two on the album and its complexity, based on cascading banjo notes, leaves the audience in no doubt as to the virtuosity of the playing of both musicians. Switching to guitar, Ashley shows that she’s not just a great banjo player. They cover Willie Nelson’s Bloody Mary Mornings and Tom Waits’ Long Way Home. A particularly nice touch was the anecdote about their next song, a cover of Jimmy Webb’s Careless Weed. Webb was, of course, a great friend of Glen Campbell but Glen never actually recorded the song. However, there’s a YouTube video of Glen playing it for Jimmy in a hotel one night and Ashley & Thor used that version to write their own dual guitar arrangement.

The overall feel of the music in the sixteen song set leaned heavily towards jazz & folk. My favourite piece was their beautiful rendition of Eleanor Rigby accompanied by their twin guitars. They sold out the two nights in the intimate 100 seater room and the mainly local audience were enthralled throughout. There’s still time to catch them on their remaining Irish dates, followed by a UK tour. And the good news is that they have just moved to London, so we’ll hopefully get to see them quite often in this part of the world.

Review and photo by Eilís Boland

Natalie Merchant @ Olympia Theatre, Dublin - 9th November 2023

The last time that I had the privilege of seeing Natalie Merchant in concert stretches back to June 2010 when she performed at the Helix Theatre in Dublin as part of her Leave Your Sleep album tour. That album was a collection of music adapted from 19th and 20th century British and American poetry about childhood, and highlighted her Folk leanings. She returned to play at the Olympia Theatre in March 2016 as part of her tour to promote a collection of new recordings of the songs from her debut solo album, TIGERLILLY (1995). That was an album that saw her build upon the alternative rock success of 10,000 Maniacs, her breakthrough band, and Tigerlilly saw Natalie deliver a superbly crafted slice of Americana. In the intervening years she has released separate projects, from further original material on her 2014 eponymous album, to the defining box set representing her entire solo output in 2017. The one dominant factor throughout a hugely successful career has been her refusal to ever compromise her artistic vision or to be pigeonholed by the media into a tidy box. Natalie continues to defy music genre constraints and to rise above the need to justify her creative muse.

Tonight, in the beautiful surroundings of the Olympia Theatre, she unveils material from her most recent album, KEEP YOUR COURAGE, which has been released to universal acclaim. The album was recorded during the Covid lockdown and channels themes of courage, hope for the future and the enduring strength of the heart to withstand external pressures. In recent years she has undergone spinal surgery which resulted in the loss of her voice for nine months, together with suffering nerve damage to her right hand which stopped her playing piano. Now fully in remission and beyond the fear of career-ending threats, it’s remarkable to welcome Natalie back onstage and to see her utter joy in being at the centre of her universe again. Always a hypnotic performer, Natalie exudes a level of energy that would be impressive in someone half her age and her voice has never sounded better, such resonance and power interlaced with gentle nuance and sensitive, soulful inflection.

Playing to a packed audience of admirers, Natalie channels a magnetism that spreads a message of loving awareness and steadfast spirit, mirrored in an expression of living for the moment. The set list visits a number of her solo albums in an incredibly generous three hours of performance (with a short interval between two sets). Natalie oversees everything from stage centre as she paces the beautifully lit stage, encouraging heightened performances from her impressive touring band. A string quartet is joined by a subtle rhythm section with expertly judged drum and bass promptings throughout. The guitar and piano add layers of subtlety in the performance dynamic and accordion is also a key instrument in the song interpretations. The orchestral arrangements are richly scored and bring great colour to the melodies of so many superb songs that have been reworked for the current tour.

Natalie dances throughout in that distinctive movement and rhythm that is uniquely hers, building into a hypnotic performance where it is hard to take your eyes away from her spontaneity. She uses her pleated dresses like a matador’s cloak, spinning and swirling as she finds inspiration from the uplifting music. Twenty-three songs are performed, with six selected from both the new album and OPHELIA (1998).  Highlights include superb renditions of Ladybird, Wonder, Giving Up Everything and The Feast Of St Valentine. There are so many songs in her catalogue that it’s impossible to suit all requests but Natalie gives everything to the performance of the set list chosen. The concert peaks with stirring versions of Life Is Sweet, Kind And Generous and Carnival. Her cover of a Lankum song, Hunting the Wren is haunting in the delivery and final song The End is in condemnation of the current wars that are tearing our world apart. She raises a peace flag during the song to illustrate her desire for the current craziness to cease and for humanism to serve a higher purpose. A sublime concert in all aspects and one that places Natalie Merchant at the summit of her powers, joyous, moving and thought-provoking. Long may she continue to deliver such succour to our battered hearts and senses.

Review by Paul McGee Photography by Naoise McGee.

My Darling Clementine @ The Workman’s Cellar, Dublin - 12th November 2023

Husband and wife team, Michael Weston King and Lou Dalgleish completed their five-date Irish tour in fine style at The Workman’s Cellar in Dublin. Commenting on the venue, Michael remarks wackily that the venue reminds him of the bordello styled night club, Lillies Bordello, since closed, that he frequented back in the day with the late promoter Derek Nally and where they rubbed shoulders with the rich and famous. 

 A day after Michael’s birthday, which they celebrated in the West of Ireland, the couple are in chipper form, even if Lou does remind Michael that “you somehow managed to pour a full pint of Guinness over me last night.”

Drawing from their extensive back catalogue, their ninety-minute set includes early career work selections, their 2020 album, COUNTRY DARKNESS, and Michael’s 2022 solo album THE STRUGGLE. His emphasis on the latter is a source of light-hearted banter between the pair.

An evening of super harmonies and duets, slick guitar work, electric piano, and the customary spirited repartee between them follows. They kick off with Unhappily Ever After from their 2013 record, THE RECONCILIATION? and finish in fine style with two encores, 100,000 Words from their 2011 album, HOW DO YOU PLEAD? and Endless Wandering Stars, from Michael’s solo album, GOD SHAPED HOLE, dating back to 1999. 

In between, they perform sixteen songs, including the Tom T Hall-inspired Going Back To Memphis, Friday Night, Tulip Hotel, and Eugene. Lou recounts that the latter brings back memories and not particularly happy ones when she ended up suffering in silence in hospital during their successful tour of The States while Michael and their daughter spent time on the beach. (“Well, it was California,” Michael recalls, tongue in cheek).

Jolene’s Story, written from the protagonist's perspective in the Dolly Parton song, is followed by I Felt The Chill, which they included in the COUNTRY DARKNESS album. That album was a collection of songs recorded by Elvis Costello and featured Steve Nieve's keyboard playing. Lou impressively takes those piano parts on I’ll Wear It Proudly and Either Side Of The Same Town and they also perform the Jim Lauderdale co-written, I Lost You, also from those recordings. 

Other highlights include the defiant No Matter What Tammy Said and an impressive rendition of the Joe Henry/Loudon Wainwright 111 written, You Can’t Fail Me Now. Michael describes the previously mentioned THE STRUGGLE as his “miserable pandemic album” and performs a couple of songs from the album, The Hardest Thing Of All and The Weight Of The World. He explains that the second of the two was written from a black policeman’s perspective and derived from Donald Trump’s infamous charade when he had Black Lives Matter protestors cleared from the streets at The White House to have a photo shot of him holding up a bible, which was upside down.

A show by My Darling Clementine is invariably not just a musical experience and tonight’s performance is no exception. Alongside their extensive back catalogue, skilled playing and harmonious vocals, they also include an element of free and easy humour, and that combination makes for the perfect evening’s entertainment. However, a word of warning. If you have booked front-row seats, do not arrive late or midway through their set, or the frivolous banter may be at your expense. 

Review and photography by Declan Culliton

Chris Stamey @Whelan’s, Dublin - 9th November 2023

Chris Stamey's professional career dates back to the mid-70s as a Singer-songwriter, musician, sound engineer and producer. A founding member of The dB's, he had previously been in Sneakers, with future R.E.M. producer Mitch Easter, and The Cossacks, a NYC-based band that included Alex Chilton, the lead singer with The Box Tops and Big Star. Despite four and a half decades in the music industry, this evening's performance by Stamey is his first of two shows in Ireland, coinciding with dates in the UK and mainland Europe.  

The support act is Dubliner Barry O'Brien. His well-crafted melody-loaded songs, matched by slick guitar work, are the perfect warm-up for the headline act. 

Armed with an acoustic guitar, a four-and-a-half decade's back catalogue, and numerous industry tales, the intimate surroundings in the seated room of one of the smaller rooms in Whelan's is the perfect venue for Chris Stamey's ninety-minute performance. Included in his set are songs that, by his admission, he hasn't played for ages, a selection from his recent excellent album, THE GREAT ESCAPE, and a few from his next album ANYTHING IS POSSIBLE (“including me changing the record title,” he jokes.)

Stamey was drawn to New York in 1977 by the presence of the band Television, and tonight he speaks of the toxicity of New York at that time and the electric music scene ('one hundred and fifty people packed into CBGB's and one hundred and forty-eight of them were journalists'), working with Blondie on HEART OF GLASS and an aborted recording on his small indie record label by Television's Richard Lloyd. 

He starts with two dBs songs, Cycles Per Second and Nothing Is Wrong, followed by two from his solo recordings, I Wrote This Song For You and From A Window To A Screen, before launching into the first of many informative tales about his early career. Introducing (I Thought) You Wanted To Know, he explains that the song was originally recorded with the wayward Television guitarist Richard Lloyd, but that contractual commitments resulted in it being released by him as Chris Stamey and the dBs, heralding the birth of that band. The tender love song, London, from his 2013 album LOVESICK BLUES, was directed at his fiancé in North Carolina while Stamey recorded in that city (“at times a miserable place”). 

Stamey has had and continues to have a long and productive relationship with his dBs colleague Peter Holsapple, and he includes two of their collaborations, She's Not Worried and I Want To Break Your Heart. The selections from his recent release, an album much loved by us at Lonesome Highway, provide possibly the musical highlights of the evening. The Sweetheart Of The Video, written about a suicide victim and close friend, although mournful in content is beautifully performed and by way of counterbalance, is followed by his light-hearted tribute to Van Dyke Parks, The One And Only (Van Dykes Parks).

He also responds to a 'call out' to perform Dear Friend from his latest recording. It's a profoundly emotional song written in memory of friends passed on by suicide, and Stamey is visibly emotional playing the song to the extent that he finds it challenging to complete the final verse.

Stamey's free and often fiery guitar playing and vocal deliveries throughout are as impressive as his eloquent songs and heart-on-his-sleeve lyrics, and he encores with She Might Look My Way, a song that Stamey performed regularly with Alex Chilton. It's a fitting end to a most rewarding evening in the company of an artist who appears genuinely appreciative of the attentive and pin-drop silence throughout his set ( “connecting with you all is so much better than playing these songs in my bedroom”).

Review and photography by Declan Culliton

Calexico @ The Helix, Dublin - 5th November 2023

Twenty-three years after their first appearance in Ireland at Kilkenny Roots Festival and eight years since their last Dublin show, Calexico made a triumphant return to Ireland, the final date on their forty-plus tour celebrating the 20th Anniversary of their ground-breaking album Feast Of Wire. That the venue boasted excellent sound and a near capacity audience added to the overall sense of celebration. Originally the rhythm section in Howe Gelb's bohemian band Giant Sand, Joey Burns and John Convertino formed Calexico in 1996, and their core distinctive and cinematic border sound has remained unchanged since then. 

The support act tonight is Brian Lopez, who plays a selection of tracks from his latest album, Tidal. Lopez is also a guitarist in Calexico's touring band, and together with some solo acoustic songs, the other Calexico band members join him for some impressive Tex-Mex-shaped songs. 

Feast of Wire's subject matter was migration across the USA's southern borders, and Burns' prediction that - 'The future looks bleak with no sign of change' - on the album's central song, Across The Wire, remains very much to the fore today.

It's evident that most of this evening's audience has been on Calexico's musical journey from the original release of the album and possibly beforehand, and the level of expectation in the hall is apparent when the six-piece band come on stage. What follows is a masterclass in Tex-Mex, Latin rhythms and jazz-tinged Americana as the six-piece band performs the deluxe edition of the celebrated album in chronological order. Calexico's live shows consistently surpass the quality of their studio work, and tonight is no exception. The dynamism, passion and sheer musical brilliance on display this evening are equalled by the slickness of the performance. 

That album, as with most of their original material, is rich in instrumentals, and the delivery of the jazz-tinged Crumble, the rhythmic Dub Latina and Guero Canelo are sublime, surpassed only by the crowd favourite Close Behind, which is bolstered by the spectacular twin horns assault, courtesy of Martin Wenk and Jacob Valenzuela. A cover of Love's Alone Again Or and Joy Divisions' Love Will Tear Us Apart which was tailed on to the end of Not Even Stevie Nicks also featured, together with the electronic and experimental Attack! El Robot! Attack! 

What follows the sixty-five minutes devoted to Feast Of Wire is equally spectacular. Burns takes the opportunity to credit the musicians, the sound and lighting crew, and the tour and merchandising manager for their input throughout the tour before they launch into a six-song celebratory encore with an up-tempo selection from their back catalogue. Jacob Valenzuela takes the lead vocals on Inspiration and Flores y Tamales, and also included are Cumbia de Donde and Harness the Wind. 

It's pointless attempting to highlight any one backing musician who accompanied Joey Burns and John Convertino on stage tonight, given their excellence. Four players, Jacob Valenzuela, Martin Wenk, Scott Colberg, and Brian Lopez, shared over a dozen instruments, and all added vocals. However, overall plaudits have to be directed at Burns and Convertino, whose crystal-clear vocals and phenomenal drumming, respectively, championed what was an outstanding and joyous return to Dublin by Calexico. 

Review by Declan Culliton. Phone photograph by Kaethe Burt O’Dea

IBMA World Of Bluegrass 2023

The IBMA’s annual World of Bluegrass (WOB) event has long been the Mecca for bluegrass and old time fans and artists, and we visited this year’s event in Raleigh NC and are happy to confirm that it continues to uphold that reputation. It was impossible for a solo reporter to experience everything the festival had to offer over the five jam packed days and nights, but below is a selection of our favourites.

Regular visitors to Ireland, Special Consensus headlined the first night in the retro-styled Lincoln Theatre. Playing as part of the Kickoff Party, Greg Cahill and band featured songs from their newest album, Great Blue North, and welcomed on stage a host of alumni and friends including Rick Faris, Nick Dumas, Ned Luberecki, and Frank Solivan. Later in the week, lead vocalist & guitarist Greg Blake went on to win the IBMA Male Vocalist of the Year, and the band’s cover of Gordon Lighfoot’s Alberta Bound won the IBMA Collaborative Recording of the Year.

Next up that night, and also performing several more times during the week, were another band who have become familiar to Irish audiences, Seth Mulder & Midnight Run. Look out for their return to Europe in 2024, touring their newest recording, In Dreams I Go Back.

AJ Lee & Blue Summit emerged from the active Californian bluegrass scene a few short years ago and have gone on to become one of the most exciting string bands in the US. Pushing way beyond the boundaries of traditional bluegrass, their musicianship is scarily good but their songwriting takes them to a higher level. As well as playing on the main stage at the Red Hat Amphitheatre (open air), there were many opportunities to catch them in showcases over several days, including the official late night jams both in the smaller ballrooms of the Sheraton Hotel and  in the intimate showcase rooms hosted by several record companies on the upper floors of the hotel. Blue Summit were brought to Ireland’s Westport Folk & Bluegrass Festival in 2019, and that festival’s director, Uri Cohen, was to be seen huddling in dark corners, no doubt plotting what stellar bands he’ll be bringing to our shores in the next couple of years! Also spotted enjoying the musical delights were Pat McGill, who runs the Ardara Bluegrass Festival as well as bluegrass gigs throughout the year in his lovely corner of Donegal. The Irish contingent was completed by the My Grass is Blue team, so lots of bookings to tour Ireland should be expected.

The talented Rick Faris, already mentioned above, was kept very busy throughout the festival, showcasing his new album, Uncommon Sky, with his own band (which included his two brothers) as well as taking part in songwriting and guitar workshops. Also a talented luthier, we wish him all the best in his move to Kentucky to continue his career and Faris Guitar Co. there. His record label Dark Shadow Recording were particularly hospitable during the festival, hosting a suite on the top floor which showcased some of the top acts including AJ Lee, HenHouse Prowlers and StillHouse Junkies (all of whom played Westport recently). Chris Luquette, the guitar whizz from Seattle and formerly with Frank Solivan & Dirty Kitchen, was playing in the Rick Faris Band and we are eagerly awaiting for him to form the Chris Luquette Band - watch this space! Michael Cleveland played the main stage on the Friday night, but the mean fiddler was also to be seen jamming in the corridors of the Marriott after midnight the previous night. Swamptooth are a progressive stringband outfit from Savannah, Georgia who impressed greatly at their showcase.

The Street Stages is a regular feature of the World of Bluegrass, where five blocks of the city are closed off to traffic and five stages showcase both established and newer acts throughout the Fri and Sat, all free to the public. This is accompanied by a huge number of food trucks and craft stalls, promoting local cuisine and art. Some of the bands that we managed to catch included Darin & Brooke Aldridge, Mile Twelve, Jake Blount, The Gospel Jubilators, Kaia Kater, Hubby Jenkins, Tray Wellington, Nu-Blu, Missy Raines & Allegheny and Sister Sadie. Difficult to pick out a highlight but for this reviewer it was Jason Carter & Band. Known for many years as the fiddle player with Del McCoury Band and latterly The Travelling McCourys, he recently released his first solo album, Lowdown Hoedown. His band was a who’s who of current top players, and his set was phenomenal. In addition to an extensive range of commercial exhibitors, the Conference Hall was host to a series of sponsored stages, where acts like Danny Paisley and Irene Kelley were enjoyed at The Bluegrass Standard’s stage. New this year but proving very popular was the International Pavilion which showcased acts like Red Wine (Italy - who had just won the IBMA Distinguished Achievement award) and the haplessly named Country Gongbang (from S Korea), who sang in their native tongue.

Back to the open air Main Stage in the balmy southern nights and the line up was simply divine. Traditional bluegrass purveyors The Po’ Ramblin’ Boys were joined by special guests including the ubiquitous Jim Lauderdale, who of course has just recorded an album with them, fourteen  year old mandolin prodigy Wyatt Ellis, and Bobby Osborne Jnr who joined them for their tribute to his late father. Supergroup Mighty Poplar made a rare appearance (following their Americana Festival appearance in Nashville the previous week), with the wonderful Shad Cobb on fiddle. The Kruger Brothers led a tribute to their late friend Doc Watson, with special guest Jerry Douglas. Jerry was also the special guest for the Friday headliner (whose last album he produced), Molly Tuttle & Golden Highway. Molly had just won the IBMA Female Vocalist of the Year, Album of the Year and Song of the Year, so it was a triumphant performance in front of a very appreciative audience. Absolute highlight of the festival had to be (as in our last visit in 2019) the Del McCoury Band. Eighty-four year old Del showed why his is the most awarded band in bluegrass, and with the third generation of McCourys honing their chops on the stage alongside him, it is heartening to know that the show will go on.

As you can probably tell, a visit to the IBMA WOB is highly recommended, whether that be in Raleigh in 2024, or to the next host city from 2025, which has yet to be announced.

Report and photos by Eilís Boland

Joe Henry @ Whelan’s Upstairs -27th Sept 2023

It was always going to be a night of celebration and sweet reverie.  Joe Henry had not played in Dublin for quite a few years and there was a palpable expectation among the die-hard admirers of his craft as they gathered in anticipation of the venue doors opening into the intimate surroundings of Whelan’s upstairs room. The absence of chairs was a disappointment to the assembled crowd, most of whom bordered on the ‘mature’ side and would have preferred seated options. However, with a sold out show the promoters clearly wanted to populate the small space with as many upright bodies as possible.

Joe Henry took to the stage with his trusted Gibson guitar and was later joined by his talented son Levon Henry who accompanied him on saxophones and melodica for most of the show.  Their interplay throughout was always very creative and there was a synergy present that lifted all the songs chosen. Joe talked about many things between songs, including his recent recovery from prostate cancer, his song writing process, the influence of Cole Porter and the joy of poetry in both Haiku and the Sonnets. Having released album number sixteen in 2022, it was an unexpected bonus to have Joe visit five of his previous releases over the night and not just concentrate on the new material. His song writing is esoteric and evocative, open to interpretation and always deeply moving and powerful in the delivery. Joe has a very strong vocal presence and his guitar playing as always was superbly nuanced and colourful.

He references the sense of magic that exists in various guises and forms, the sense of the absolute in the flow of creativity that visits us all. Letting the songs present themselves is very important to Joe’s process and he uses his unique approach to act upon the muse that stirs within. In his writing and performance he channels what the rest of us acknowledge in occasional moments of heightened awareness. The difference is that Joe acts upon the messages that come dropping slowly into his days of seeking the spark. The emotion of the moment was truly captured tonight in the pin-drop silence which witnessed his songs and the joyous collaboration between father and son as they dovetailed across their delivery.  Visiting the new release, ALL THE EYE CAN SEE, he performed Song That I Know, Yearling, Kitchen Door, Karen Dalton and it was the title track that resonated with the lines ‘Here comes the night unfurling, its torn holy flag still burning, at borders that bleed until blurring, all the eye can see.’

Although it may appear that life becomes more complicated as we grow older, and Joe spoke of his “divided country,” it is the essence of his song writing craft to strip everything back to its core in discovery of the true humanity that he seeks. He mused that the only thing that binds us all together as humans is the experience of mortality and grief. Nobody can escape it and it is the recognition of this that is mirrored in what we identify in the music of Joe Henry and in what resonates most. Songs from previous albums include Odetta, Eyes Out For You, After the War, Fact Of Love, Orson Welles/Listen To the Lion, Kindness Of the World, Climb, This Is My Favourite Cage and are played with great mastery and a knowing resonance. It struck me that Joe absorbs life experience like a sponge, his journey soaking up insight and influences into the pure emotion that touches musical peaks to connect with his audience of listeners. There is a deep reservoir to these songs and in his vision to capture special moments of self awareness, a type of magic dust that sprinkles us all. We rarely get to experience the real sense of wonder in the world. Perhaps Joe is plugged into it more often than not. His reputation as a producer is as legendary as the numerous artists that he has worked with and it is his vision to let the artist speak their truth that attracts so many to his door. Here’s hoping that he returns soon to our shores and regales us once again with his talent and his wisdom.

Review and photograph by Paul McGee

Keeping It Country @ AMERICANAFEST 2023

With Americana covering so many musical genres it’s a relief to see that ‘real’ country music, whether traditional or more contemporary continues to be well represented at the annual AMERICANAFEST, now celebrating its 23rd anniversary. This year was no exception with so much on offer for those looking for twangy guitars, weeping pedal steel and country fiddles. Here are a number of the acts that hit the Lonesome Highway sweet spot at the festival.

Skinny Dennis @ Sound Sharp hosted by Zephaniah OHora

A dream line-up that included sets by the hardest working artist at the festival, Brennen Leigh together with Kristina Murray - showcasing new songs from her next album, Joshua Hedley and Zephaniah OHora. Despite the constant chatter by over half the audience - why attend these if you’re going to spend the time chatting loudly with your friends? - this was a fun-filled event hosted by Zephaniah, whose recent relocation to Nashville promises many memorable shows like this one.

Pat Reedy & The Long – at Bobby’s Idle Hour

A highlight of the week with Pat Reedy and his cracking band at Music Row’s legendary neighbourhood honky tonk. Pat’s guests included Dylan Earl, West of Texas, Rosy Nolan and Bob Wayne. Great music, dancing, company and fun at one of Music Row’s finest music rooms.

Brennen Leigh at Dee’s Cocktail Lounge

Given the amount of ground she covered, Brennen’s white travel van could be seen parked at various locations around Nashville, both legally and illegally. We managed to catch two of her shows, the latter and an outdoor event at Dee’s Cocktail Lounge. A stalwart of country music for the past two decades, Brennen has hit a purple patch in recent years, reflected by this show which featured a selection of songs from her last three albums.

Victoria Bailey at Acme & Seed

Appearing at the California Country Show alongside twelve other acts, Victoria’s twenty-minute slot was quality and a reminder, if we needed it, of an artist on the brink of a breakthrough to a career that’s going to find her gracing much larger stages in the future.

Summer Dean

A relatively late starter as a professional, Summer Dean has made up for lost time with two fine albums in the past few years. Popping up on so many stages during the festival, we caught her dynamic show at Dee’s Cocktail Lounge where her slot mirrored the quality of those albums.

Jim Lauderdale

An artist that never fails to deliver, his appointment with The Game Changers as his backing band is a match made in country heaven. Jim played a storming set at East Nash Bowl and also featured at The Basement East for A Tribute of the Songs of 1973.

Emmy Nenni

Our first opportunity to see Emily perform live and no better venue to do so than the American Legion on Tuesday Honky Tonk Night. Performing a setlist drawn from her album ON THE RANCH, she reminded us why that album is one of our favourites of this year.

West Of Texas

HEARTACHE, HANGOVERS & HONKY TONKS, from 2021, was our introduction to West of Texas and they delivered a set packed with Bakersfield and Texan-influenced country tunes at Love & Exile and Bobby’s Idle Hour.

The Pink Stones

Recreating the late 60s cosmic country sound of The Burrito Brothers and New Riders of The Purple Sage, The Pink Stones nailed their forty-five-minute slot at the 5 Spot.

Joshua Hedley

Whether performing solo or with a band ‘Mr. Jukebox’ lived up to his reputation as one of the hardest-working and talented country artists in Nashville. Alongside festival showcases Joshua also played his Monday and Friday four-hour residency shows at Robert’s Western World on Broadway.

Kimmi Bitter

A throwback to the classic country of the 60s and Western swing of earlier decades, Kimmi’s crystal-clear vocals and relaxed style reiterated why she’s been recognised in many circles as an artist confidently climbing the country music ladder.

Dylan Earl

Whether playing solo and with guests at the 5 Spot or fronting a band at Bobby’s Idle Hour, Dylan Earl’s classic country vocals and clever material were a joy to behold. Blending country weepies alongside some fun filled ballads he made a lot of new friends and admirers along the way.

Overview and photographs by Declan Culliton

The John Martyn Project @ Whelan’s, Dublin - Sept 17th 2023

Tonight was the conclusion to a brief tour of Ireland for this band of richly talented musicians. They were at the end of a 5-day run that included gigs in Kilkenny, Limerick, Belfast, Virginia and Dublin. It was appropriate that Whelan’s should be the final venue of the tour as it retains much of the spirit of John Martyn’s music in the walls. He last played in the venue back on July 2nd 2008 as a taster for the Dysart Music Festival which was due to take place in the grounds of Dysart Castle, Thomastown, Co Kilkenny. However, due to unforeseen circumstances, the festival was forced into a change of venue and eventually lost a lot of the original acts that were due to play. John Martyn died just six months later at a hospital in Thomastown, having lived in the area for some time previous. His long-term abuse of drugs and alcohol has been documented by the media over many years and despite all of his many musical gifts he was also seen as both difficult and unpredictable, prone to bouts of anger and a tendency in latter days towards reclusiveness.

Tonight this six-piece band, which included Blythe Pepino, Kit Hawes, Pete Josef, Sam Brookes, John Blakeley and John Short speak about John Martyn between songs, with a few of the band sharing their individual memories of being introduced to his music. Blythe spoke from the heart when she mused over the gentle nature of his song writing and his troubadour soul but also referenced the toxic masculinity for which he was often perceived. Perhaps it was this dichotomy that separated him out from other Folk-based artists that had developed in the 60s and went on to greater success in their musical careers. John Martyn was a chameleon on many different levels. He straddled many genres, recklessly brave in his passion to tear down the walls that separate so many purists of various traditions. He fused traditional folk with progressive leanings, jazz-based experimentation with rock elements and during his band phase and was close to both reggae and the blues in his often soulful, always deeply moving music. He was a renegade with a gypsy heart who challenged the status quo often and never settled for the safe place. A pioneer and a seeker of new frontiers as he wrestled with his demons until they finally took him to that final gig in the sky.

Tonight, the generous set list covered 19 songs, mostly taken from the period 1970 to 1977, and showcased material from just six original albums. The core set featured seven tracks from Solid Air (1973) with Bless the Weather (1971) featured an additional five songs. The absence of any music from the many additional releases up to 2004 bears testament to the volume of work that John Martyn produced and also the potential for this tribute band to further interpret the singular talents of this unique musician into future shows. The quality of playing on the stage tonight was very impressive and each member contributed to a seamless performance that had the audience on their feet with a standing ovation on more than one occasion. The interplay, the dexterity, the harmony vocals, the subtle rhythm section, understated keyboards, and the lovely vibe in the room and onstage all contributed to a night that was very special indeed. The band promised to return and it will be something to mark on the calendar when they do find their way back to our shores.

Highlights were the incredible guitar dynamics of Kit Hawes on Man At The Station. His ability on six strings was just off-the-charts and his solo version of Small Hours delivered another standout performance. Sam Brookes has a superbly percussive guitar style that captured so much of what separated out John Martyn in his playing.  He also has a very expressive vocal that at times channels Jeff Buckley in its colour and power. On keyboards and guitar we had the fine inventiveness of Pete Josef and his version of Spencer the Rover was another special moment on a night of many enduring memories. The rhythm section of John Short and John Blakeley proved pivotal to much of the subtle groove on stage. Always playing in the pocket and never pushing the easy tempo of their combined delivery. The lovely vocals of Blythe Pepino feature throughout and her wonderful delivery of Don’t Wanna Know saw the other musicians rise to the challenge and deliver a real tour de force as the gig built to a wonderful climax.

The encore featured the sublime Couldn’t Love You More with Sam on vocal and then the band took to the front of the stage to deliver an acoustic Over the Hill improvisation, complete with audience sing-along and a guest appearance of Blythe’s dog, who wandered around the stage and bonded with the front row for some petting and tail wagging. It was a very special evening and this impressive group of musicians brought their combined gifts to mark another landmark gig at the famous Whelan’s venue.

Review and photos by Paul McGee

Charley Crockett @ The Button Factory, Dublin 5th September 2023

The expectation around the return visit of Charley Crockett is palpable tonight at The Button Factory, evidenced by the size of the crowd in the venue long before the start time. The support act for Crockett’s Europe and UK tour is Oxfordshire-born Ags Connolly, an artist very much championed by us all at Lonesome Highway for a number of years. Connolly, as is the case with Charley Crockett, was hugely inspired by the music of the late James ‘Slim’ Hand and it is little surprise that he includes I Saw James Hand in his thirty-minute set. He draws mainly on material from his most recent album, SIEMPRE, which he explains is more ‘Texas Border’ than his earlier career ‘Honky Tonk’ sound. His booming baritone vocal reaches every corner of the room on Heading South and Overwhelmed from that album and he also includes what he describes, tongue in cheek, as his ‘feelgood number’ I Hope You’re Unhappy.

Texan Charley Crockett’s parting words as he left the stage to rapturous applause at The Workman’s Club in Dublin last October were ‘My first time in Ireland y’all, but believe me, we’re coming back.’

True to his words, Crockett and his five-piece band, The Blue Drifters, are back in town and this time for another sell-out show, but at a much larger venue. The age demographic at the show is also a pointer toward an artist whose sound - christened by him as Gulf and Western - has an equal appeal to all ages. That sound seamlessly blends traditional country, blues, gospel, and rockabilly, and his setlist draws mainly from his more recent albums, THE MAN FROM WACO, MUSIC CITY USA, WELCOME TO HARD TIMES, and 10 FOR SLIM - CHARLEY CROCKETT SINGS JAMES HAND.

The Blue Drifters, decked out in matching black western shirts tonight, have been Crockett’s backing band for a number of years and it’s no surprise that they are on fire tonight. The stage is brimming with instruments including acoustic and electric guitars, banjo, pedal steel, upright and electric bass guitars, drums, trumpet, keys and accordion, with Kullen Fox taking on the role of bandleader, playing keyboards, trumpet and accordion.

The set is packed with crowd pleasers, from the opener, Run Horse Run, to the pre-encore closer, I’m Just a Clown. Music City USA, The Man From Waco, Odessa, and Trinity River are highlights and in the heat of the moment Crockett, mid-song, manages to forget the lyrics of the encore, a sweet version of Crystal Gayle’s Crystal Chandeliers.

‘They call me ‘country’ now, but I was ‘folk’ when I was a hobo playing street corners, and I’m going to be ‘blues’ right now,’ he announces, before launching into a ripping take of T-Bone Walker’s Travelin’ Blues. Other covers that get aired are a trio of James Hand songs, Midnight Run, Lesson in Depression and Don’t Tell Me That and he takes a trip down memory lane and back to the 60s with an up-tempo rendition of Buck Owens’ Act Naturally, and Jerry Reed’s I Feel For You.

Switching from acoustic guitar to banjo, and banjo to electric guitar, and with dance moves that include hip-swinging, pelvis shaking, and sliding across the stage, Crockett is the quintessential showman. But it’s the quality of his vocals, the stellar players around him and the pure energy and soulfulness that they collectively generate, that capture and hold the attention of everyone lucky enough to have attended a memorable performance.

Review by Declan Culliton Photography by Kaethe Burt O’Dea

The Caleb & Reeb Country Band @ The Red Room, Co Tyrone - Sep 5, 2023

The hospitable Sharon & Arnie Loughrin began to open their home, in rural Co. Tyrone in Northern Ireland, for bluegrass house concerts several years ago. Since then, the venture has grown to become a well known and popular venue for roots music, particularly featuring bands from the USA, and is a ‘home from home’ for many of them. Arnie’s versatility and hard work has resulted in the building of a spectacular venue in the form of a rustic red brick barn which seats 80, complete with an open turf fire, decorated with quirky farm implements and found objects, and completed with Sharon’s famed quilts. And so, it was a pleasure for Lonesome Highway to return to the Red Room for the much anticipated first Irish tour of the Caleb & Reeb Country Band with their full line up. It’s expensive to put a big band like this on the road, especially when they have to travel from the US, so hats off to promoter Uri Kohen for pulling it all together. Principal songwriter and co-band leader Caleb Klauder is, of course, very familiar to Irish audiences, having first visited here over twenty years ago with his then fledgling Foghorn String Band. It feels like he has returned every year since then, either with various iterations of the Foghorns, or with his partner Reeb Willms. Americana and bluegrass bassist and producer, Nashville based Mike Bub was on his first visit to the lovely Red Room. They were also joined by Louisiana music royalty in the form of fiddler Joel Savoy, from the famous Savoy Family Band. On snare drum was Michael Carroll from California, and the line up was completed by Portland, Oregon’s Rusty Blake on his Sho-Bud pedal steel and Telecaster.

The very tight band (all real pros but also all very familiar with each other) put on a dream of a show with a selection of old fashioned country songs, many penned by Caleb, but all sounding like they could have originated from any part of the last century. As well as being an all round great human being, Caleb is proficient on mandolin and acoustic guitar and is a very prolific songwriter. In the first half of the show we were treated to new songs like Too Far Gone and Gold In Your Pocket, whetting our appetite for the imminent new record. Reeb Willms took lead vocals and guitar for her own compositions, the lovely cowgirl song High Desert Plain and another Western themed one, The Montana Cowboy. They launched into duets on two Buck Owens numbers, the deliciously slow It Don’t Show On Me and then There Goes My Love. Caleb gave us the moving background to the recent passing of his ‘second father’, Duff, and sang the affectionate tribute to him that he has recorded for the next album. He’s Gone Where He’s Never Been Before refers to Duff as ‘a legend that needed no folklore’. Reeb and Caleb’s voices meld together beautifully for a cover of the George Jones & Melba Montgomery hit Please Be My Love, and after another of Caleb’s timeless love songs, Can I Go Home With You, we all take a break for the obligatory tea and buns and chat in the kitchen.

Herded back to the barn by the clang of Arnie’s bell, we were treated to another equally fun set for the second half. Highlights included Reeb’s rendition of the gentle, slow, romantic, cowboy ballad The Faraway Skies, which they dedicated to the much missed Brian Crawford, a friend to all in bluegrass and a fixture at The Red Room. Mike Bub stepped up to the mic with his bass and went down a bomb with his rendition of Jimmy Martin’s I Got My Future On Ice. Rusty Knox treated us to his pedal steel instrumental Freckles, which allowed room for a fiddle break from Joel Savoy. There were more new songs from Caleb, including the fiddle-led Chained By Desire, Shame Shame Shame and the duet Sad Songs. The encore started with Caleb’s solo cover of Norman Blake’s Billy Gray, then eager audience participation in the a capella Surrounded By Love, and finally another new Louisiana-influenced dance song, New Shoes.

It was just a pity there wasn’t room to dance … that’s Arnie’s next project?

Review and photogrphy by Eilís Boland

Eddi Reader & The Alan Kelly Gang @ Ratoath, Co Meath - Sat 2nd Sept 2023

This concert marked a welcome return for Eddi Reader and the Alan Kelly Gang to a very popular venue that had hosted the musicians on previous occasions over the years. It was prior to Covid when the band last came through town and tonight they were intent on making up for lost time with a rousing and uplifting performance that had the capacity crowd delighted with the music and the craic.

Eddi was in fine voice as always, and you can never tire of hearing her sing. Her vocal range was as powerful as ever and the joy of being in the moment shone forth from her gypsy soul. Her wickedly playful sense of humour is never far away and the between-songs banter was always a tonic. Whether she was berating the Irish people for stealing the Book of Kells from the Scottish , with the help of the Vikings, or acting out the part of her Mother back in childhood memories, Eddi commited to the performance with everything that she had in her vagabond heart.

Alan Kelly has been a household name in Irish traditional music circles for over 20 years now and his piano accordion expertise is right up there with the finest musicians that Ireland has produced. His band comprises Sligo guitarist Shane McGowan, singer and flautist Steph Geremia, and Jim Higgins on percussion. Eddi is joined by her husband John Douglas on guitar and vocals and they have been a couple since their marriage back in 2013. He has written songs for Eddi’s solo albums, including  the SONGS OF ROBERT BURNS project that earned her an MBE back in 2006. Tonight, John opened the show with a short solo set that included songs from his new album and cover versions of songs by Prefab Sprout (We Let the Stars Go) and Van Morrison (Across the Bridge Where Angels Dwell), with Eddi on harmony vocals for the latter number.

Highlights of the main performance included songs from across Eddi’s back catalogue with Find My Love, Vagabonds, Ay Fond Kiss and Dragonflies (dedicated to Sinead O’Connor) particular highlights. Edie also sang a wonderful version of Mona Lisa in honour of her Mother and the parties that used to take place in their council house back in old Glasgow. Eddi used her Scots brogue throughout and was never short of a skip and a sway in tune with the superb music that the band delivered.

Alan played a series of jigs and reels at certain stages of the song set and the virtuoso musicianship of the band members was both exciting and impressive. Steph played beautifully on flute and whistle in addition to singing with a sweetly toned vocal on songs Navigator (a Pogues song), Get Up Jack, John Sit Down and on the encore, The Garden. An accomplished performer and a fine harmony foil for Eddi in her songs. The guitars of both Shane McGowan and John Douglas were always inventive and the way in which they dove tail around the various rhythms was always engaging. On percussion Jim Higgins provided the engine room and never dropped a beat as he drove the tempo of the songs forward.

Two songs from Alan’s repertoire included the Shetland Sky and the Oblique Jig, while Eddi dipped into the CAVALIER album to pick out stirring versions of Maiden’s Lament and Meg O’ The Glen which finished with some intricate jamming among the players.  Pangur Bán and the Primrose Lass was laced with fun performances and an addictive melody, while Your Welcome Willie Stewart  was another encore tune that had the audience clapping and shouting along to the celebratory chorus.

It was a night to remember and a real triumph for the superb Venue Theatre, nestled in the heart of Ratoath village and providing a consistently high level of variety and entertainment to the local community.  

Review and photograph by Paul McGee

Sylvie @ Whelan’s, Dublin - Saturday 26th August 2023

Ben Schwab says that the band has been playing on the road for so long this year, that with only two dates remaining on the current tour he is really looking forward to drinking a few beers and meeting people at the merch desk tonight. Not that you could detect any signs of weariness or burn out in the performance of this very talented trio.

The band name is the creation of founder member Ben Schwab and it is in tribute to his father, John, who once stood on the verge of a record contract back in the 70s before it was all taken away from him. His father was part of the psych-folk band Mad Anthony, and a few years back, Ben discovered some old recordings in a box while cleaning out an old room. Ben decided to put the songs into a modern context and in addition he picked one of the cover versions, a song by Matthews Southern Comfort titled Sylvie, to include on his 2022 album of the same name. That album was a real treat in a year of great music releases and at just seven songs and twenty-eight minutes it remains one of my enduring memories of last year.

Tonight, performing with the talented Laura Jean Anderson on vocals and Keven Louis Lareau on guitar and vocals, Schwab delivers an hour of drop-dead gorgeous tunes, beautifully played and sung with the most sublime harmony vocals.  The short set is entirely satisfying and in no way something that disappoints the rapt audience that hang on every moment. Sometimes that old cliché ‘less is more’ actually makes sense and this was one of those nights. The guitar interplay is incredibly impressive as both Schwab and Lareau dove-tail around the melody and deliver harmony vocals that are very reminiscent of CSN and that old Laurel Canyon vibe that created such timeless music. Anderson is such a beautiful singer and some of her moments are truly special as she elevates the songs to new heights with her vocal warmth and quiet power. At times if one closes their eyes, echoes of Linda Ronstadt spring to mind in the phrasing and tone of her voice.

Most of the songs from last year’s album are played with, Further Down the Road Rosaline, Stealing Time and Falls On Me all building a beautiful atmosphere in the room. The song Sylvie is itself a standout with the understated playing just perfectly judged as Schwab takes lead and Lareau threads rhythm through the wrap-around vocals. The band try out a new song, as yet untitled, and an older song Rina is included as a cover of an original Mad Anthony track. Two other cover songs are performed and the Beatles song Blackbird and the Buffalo Springfield song Flying On The Ground Is Wrong are interpreted with great originally, making them instantly recognisable and yet very much in the fashion of the unique Sylvie sound.

Schwab promises a return visit with a bigger band and I can only put you on notice as the prospect of adding pedal steel and keyboards to this sublime music is simply mouthwatering. The song Are You Coming? opened the show as an invite for the audience to join Sylvie on the journey that was about to unfold – I am so glad that I was along for the ride. Watch this space…

Review and photography by Paul McGee

The Indigo Girls @ NCH, Dublin - 17th August 2023

The last time that Indigo Girls Amy Ray and Emily Saliers touched down in Dublin was back in October 2019, six months prior to Ireland declaring a full lock-down due to the Covid virus. Now, four years on from the World pressing the pause-button on life as we knew it, the Indigo Girls are back in town as part of a short European tour in support of their 2020 release, LOOK LONG.

Traveling as a trio and playing a further six dates in England before a return to America, the addition of Lyris Hung on violin is an inspired choice in adding texture and warmth to the performance. Tonight the set list visits eleven albums in the back catalogue of this much loved and revered duo. Apart from live albums, solo projects, compilations, and political activism, Amy and Emily have released a total of fifteen studio recordings. It is a very rich legacy to their talents as performers and songwriters, and their willingness to put in the hard miles in touring over their thirty-six years on the road has resulted in a compelling live act of both finely-honed craft and a vibrancy in the playing. Their sound is joyous when the guitars are in full flow and those air-tight harmonies kick in. Adding the superbly lyrical contributions of Hung on violin provides a palette of extra colours to the already heady mix of their celebratory sound.

Tonight, as the wonderful songs come and go, it strikes me that one of the most challenging jobs in live touring is that of the guitar technician. The Girls change instruments on every song and the guitar roadie treads a regular path from stage left to deliver freshly tuned instruments in a flawless display of timely delivery. Playing without a rhythm section could be a challenge for many bands but not in the case of the Indigo Girls, who are their own engine room. The intensity in their playing is so impressive as the trio of musicians dove tail seamlessly in-and-out of their parts in the song arrangements.

The Indigo Girls have always addressed the issues of the day, never shirking the injustices that are apparent in their daily experience. Whether it’s gender-related, socially-motivated, or politically-driven, the duo has delivered songs of great empathy and insight when it comes to holding up a mirror to the feelings of their generation and beyond. Highlights tonight include old favourites Least Complicated, Power Of Two, The Wood Song, Galileo and the perennial encore, Closer To Fine, for which the girls are joined by Hothouse Flowers members Fiachna Ó Braonáin and Peter O’Toole. The new album features and included are the songs Howl At the Moon, Look Long, When We Were Writers and Shit Kickin.’ There are other songs that resonate, such as Fishtails, Dairy Queen, Yield, and Share the Moon and when Amy dedicates Go in honour of Sinéad O’Connor, the heart-felt tribute is greeted with lengthy applause. Lyris Hung also features with a superb violin solo that displays her incredible musicianship as she loops foot-pedal parts and phrases into a building sound that delivers a real tour-de-force.

One thing that takes away from the evening is the somewhat ‘formal’ surrounding of the NCH, leading to a restrained atmosphere between songs and the usually upbeat exchange of banter between audience and the band. Apart from the regular ‘thanks, y’all’ there is a lack of momentum building from one song to the next and this could have been due to the passage of time since the Girls were last in Dublin. Some requests were made for old songs that have not been rehearsed or reshaped by the Girls for this acoustic-based tour, but none of this seems to matter as everything draws to a conclusion and the crowd, eventually on their feet, sings along to the chorus of Closer To Fine. My particular favourite, Kid Fears, is not included tonight but one thing is for sure; there is no fear of  the Indigo Girls ever ceasing to be a much loved part of the musical tapestry of Irish people who recognise enduring talent when it presents itself. Hopefully this will not be their last visit.  

Review and phone photography by Paul McGee